Your Week Ahead: Oct. 17 to 23

A Belgian movie star gets his own day at a Boca brewery, the Wick pays cheeky homage to classic musicals, and a Boca-bred blues-rock duo plays Arts Garage. Plus, Conor Oberst, “The Little Foxes,” WWI aviator art and more in your week ahead.



What: Opening day of “Knights of the Air: Aviator Heroes of World War I”

Where: Flagler Museum, 1 Whitehall Way, Palm Beach

When: 10 a.m. to 5 p.m.

Cost: Museum admission of $18 adults, $10 youths

Contact: 561/655-2833, flaglermuseum.us

One of the many surprising pleasures of this year’s Wonder Woman movie was the unorthodox World War I setting, personified by Chris Pine’s heroic aviator. Whether planned or coincidental, this is an ideal year to revisit the romance and patriotism of classic wartime fliers, as 2017 marks the centenary of the United States’ entry into the First World War. In honor of this anniversary, the Flagler has organized “Knights of the Air,” the first museum exhibition dedicated to the pilot-heroes of World War I. For folks on the American mainland, the daredevil aviator became a national symbol for the overseas war effort—avatars of adventure and derring-do. This exhibit showcases the period art, artifacts and printed materials that brought our military might to the home front. It runs through Dec. 31.


What: Screening of “Basic Instinct”

Where: O Cinema, 90 N.W. 29th St., Miami

When: 9 p.m.

Cost: $12

Contact: 305/571-9970, o-cinema.org

If you’ve never seen this campy 1992 thriller by movie bad-boy Paul Verhoeven, this is not the place to experience it. But if you either love or hate “Basic Instinct,” this special interactive screening is a singular way to appreciate its quirks, faults and schlocky joys. As part of O Cinema’s Reel Hottpants series, host DJ Hottpants will provide a live commentary during the screening, complete with audience participation cues, a la “The Rocky Horror Picture Show.” The notorious Sharon Stone police-interrogation scene is only the tip of this iceberg of absurdity, whose two Oscar nominations and two Razzie nominations attest to its polarizing nature. Arrive at 8 p.m. for a preshow presentation with DJ Hottpants, including clips of the cast, ‘90s music videos and trivia.



What: Van Damme Day

Where: Barrel of Monks Brewing, 1141 S. Rogers Circle, Suite 5, Boca Raton

When: 5 to 10 p.m.

Cost: Varies per beer

Contact: 561/510-1253, barrelofmonks.com

This week is a momentous one in the history of Belgian cultural dominance on the global stage. I say this with tongue planted firmly in cheek, as Wednesday marks the 56th birthday of Jean-Claude Van Damme, Belgium’s native son and top cinematic export, known for his kickboxing prowess, limited acting skills and conveyer belt of anonymously titled straight-to-video movies (“Kill ‘em All” and “Pound of Flesh” are two of the latest, but you knew that). Barrel of Monks, Boca’s top purveyor of Belgian-style ales, will toast JCVD’s latest calendar cycle with specialty beers and food pairings from Tucker Duke’s, along with “movie spotlights, photo ops, hero moments and more,” whatever that means. Practice your best roundhouse kick if you must, but do show it off while you’re still sober!


Photo by Rachel Fosbenner

Photo by Rachel Fosbenner

What: ONYX Art Stroll and concert

Where: Arts Garage, 94 N.E. Second Ave., Delray Beach

When: 7 to 10 p.m.

Cost: Art Stroll is free, $10 for concert

Contact: 561/450-6357, artsgarage.org

It’s the third Thursday of the month this week, which means Arts Garage returns for its celebration of local art, both visual and musical. Starting at 7, artists will begin vending their wares for the night, and beginning at 8, two local bands will perform spirited sets. You don’t want to miss this all-Palm Beach County lineup: Rocket to Anywhere (pictured), which began as a solo project in 2014 and has evolved into a high-energy rock group, recorded with Grammy-nominated producers and secured a show at SunFest this year with a sound that conjures New Found Glory one minute and Bruce Springsteen the next. We’re also excited to catch Anastasia Max, a teenage brother-and-sister duo from Boca that plays bluesy, garage-tinged music that belies their age, with influences such as Nina Simone and the White Stripes evident in their stripped-down sound.



What: Opening night of “The Little Foxes”

Where: Palm Beach Dramaworks, 201 Clematis St., West Palm Beach

When: 8 p.m.

Cost: $90 ($75 for later performances)

Contact: 561/514-4042; palmbeachdramaworks.org

A new season begins at Palm Beach Dramaworks with Lillian Hellman’s masterpiece, “The Little Foxes.” It’s the tale of a greedy Southern family that will stop at nothing—including violence—to get what it wants. Driven by greed and ambition, Regina Giddens and her clan rely on cutthroat maneuvers and betrayal in their ruthless drive to amass wealth. Although it’s set in 1900 (and written in 1939), this classic is striking a chord with modern audiences. A much-heralded Broadway production of the show starring Laura Linney and Cynthia Nixon wrapped up its run over the summer. Both actresses, as well as the audiences and critics they delighted, found the script to be surprisingly timely. “Given where we are now and given where our culture is now—particularly looking at money and power and what do you value and what do you not value—it’s sort of shockingly right on point,” Linney told NPR.

Conor Oberst's new album, Salutations, comes out March 17.

What: Conor Oberst

Where: Culture Room, 3045 N. Federal Highway, Fort Lauderdale

When: 7:30 p.m.

Cost: $30

Contact: 954/564-1074, cultureroom.net

Emerging from the cultural hinterlands of Middle America—Omaha, Nebraska, to be exact—with a quavering voice, a deft pen and an emo artist’s confessional nakedness, Bright Eyes was, for a time, the biggest thing in indie rock. In 2008, Rolling Stone named its chief musician and singer-songwriter, Conor Oberst, Best Songwriter of the Year. After mastering a ragged strain of neo-folk rock, Bright Eyes went to sleep in 2011, but Oberst has persisted in a fertile solo career. He remains as cultishly worshipped as ever, and his lyricism has only improved with age. Pitchfork recently called him “one of the 21st century’s most mercurial and charismatic songwriters.” Oberst’s Americana-inflected latest album, Salutations, is nostalgic without being saccharine; its lyrics nod to everyone from Jane Fonda and Paul Gauguin to Ronald Reagan to Christopher Hitchens. Perhaps the best part, for longtime fans? He still plays plenty of Bright Eyes songs, and switches up the set list nightly.



What: Opening night of “The Drowsy Chaperone”

Where: The Wick Theatre, 7901 N. Federal Highway, Boca Raton

When: 7:30 p.m.

Cost: $85

Contact: 561/995-2333, thewick.org

This self-reflexive musical comedy premiered nearly 20 years ago in Toronto. It was ahead of its time then, and good productions still have a wry, sophisticated sensibility of simultaneously winking and not winking at the audience. The protagonist and narrator, simply known as Man in Chair, is an agoraphobic New Yorker in a run-down apartment whose greatest joy in life is an obscure (fictional) 1928 Broadway musical called “The Drowsy Chaperone.” When he plays the record in his living room, the show flowers around us, as the man’s apartment transforms into a tony Broadway set. The musical-within-a-comedy is deliberately rife with ancient musical-theatre clichés and stereotypes—a controversial wedding, a ditzy flapper, a pair of bumbling gangsters, a Latin lothario—and the Man in Chair frequently interrupts the action to comment on it. It’s a clever night of entertainment for all, but Broadway junkies especially should flock to this. Its Palm Beach County regional premiere runs at the Wick through Nov. 12.

As the A&E editor of bocamag.com, I offer reviews, previews, interviews, news reports and musings on all things arty and entertainment-y in Palm Beach, Broward and Miami-Dade counties.

Gorillaz Bring Familiar Characters and New Music to III Points 2017


The moment I stepped out of the Uber I saw a woman wearing a banana suit.

There would be many other one-piece suits at the III Points festival Friday evening. There were cow costumes, velvet leotards, bare butts and see-through clothes of all kinds. Gliding through the crowds listening to artists like Actress and Thundercat, watching the glitter, booze and conversations flow, it all seemed relatively tame to me. Everyone was waiting.


Danny Brown drew a large crowd, but it was clear that many festival-goers (including myself) were really just waiting for the Gorillaz to make their Florida debut. By their set-time of 11:30 p.m., the bar lines had thinned dramatically and people were settling in to see the “cartoon” band formed by English musician Damon Albarn and artist Jamie Hewlett.

My friends and I settled atop a shipping container and cringed each time someone walked past, causing the roof to warp inward momentarily.

“Helllooooo, helllllooooooooooo, is anyone theeeeerrrreeee???” The sample from the 1985 movie “Day of the Dead” echoed and stretched over the crowd of thousands, as Albarn began the show with “M1 A1,” off the Gorillaz’ first album. People were psyched, and those closest to the stage jumped around to the lyrics (La-la-la-la-la-la-la-la-la-hey).

The band, touring for its newest collaborative album, Humanz, pulled heavily from it. After “Last Living Souls,” a great track from the 2005 album Demon Days, the group jumped into Humanz with “Saturnz Bars.” The sounds were clean and nearly album-perfect all night. An impressive group of backup singers and artist collaborators like Jamie Principle (“Sex Murder Party”) performed with the band. Kali Uchis, who performed just hours before at the festival, sang her part in “She’s My Collar.”

Albarn was a bit sarcastic and not overly talkative with the audience. But he was a lively performer, and he indulged us a bit when he told us that as he was sitting on the balcony of his oceanfront hotel, he was inspired by the “lyrics” flying past him on airplane banners. We should expect upcoming songs to include Puff Daddy and Steve Aoki references. 😉

A scene from the music video for "Stylo," projected on the screen behind the band. Photos and video by Shayna Tanen.

A scene from the music video for “Stylo,” projected on the screen behind the band. Photos and video by Shayna Tanen.

The Gorillaz played only a few old hits. “Clint Eastwood” was much welcomed, and concertgoers couldn’t resist standing up and singing along with Del the Funky Homosapien’s part. Watching the band’s characters, 2-D, Murdoc Niccals, Russel Hobbs and Noodle, on the massive screen added some familiarity to a show full of new songs.

Albarn and the Gorillaz ended the evening on a note that made sense, but that left me in slight disbelief. Saying there’s no more plastic beach that he knows of than Miami Beach, Albarn finished the set with “Plastic Beach.” And then the lights turned off, the band left the stage, and we waited. But no encore came, even though the set finished early.

I hopped off the shipping container and walked around the art exhibits at the convention center, then visited the S3ctor 3 stage to watch Madlib.

After all that waiting, I saw the Gorillaz, which I and thousands of others came to do at III Points Friday night.

Then I got back into an Uber and called it a night.

Set List:

  • M1 A1
  • Last Living Souls
  • Saturnz Barz
  • Tomorrow Comes Today
  • Rhinestone Eyes
  • Sleeping Powder
  • Melancholy Hill
  • Busted and Blue
  • El Mañana
  • She’s My Collar (with Kali Uchis)
  • Strobelite (with Peven Everett)
  • Andromeda
  • Sex Murder Party (with Jamie Principle and Zebra Katz)
  • Out of Body (with Kilo Kish, Zebra Katz, and Michelle)
  • Superfast Jellyfish (with Pos of De La Soul)
  • Stylo (with Peven Everett)
  • Clint Eastwood
  • Plastic Beach
Shayna is the Web Editor of Boca Magazine. She is a 20-something sorta-recent graduate from the University of Florida with a degree in journalism. Most of her time is spent fawning over cats and kittens; cooking food at home for her family; and observing Florida’s greatest asset: nature.

Your Week Ahead: Oct. 10 to 16

The Mizner Amphitheater transforms into a pumpkin patch, III Points brings together edgy music and pioneering thinkers in Miami, and a dystopian comedy offers kinky thrills in Fort Lauderdale. Plus, Art Garfunkel, “The Sound of Music,” “The Vagina Monologues” and more in your week ahead.


Jill-Christine Wiley as Maria Rainer and the von Trapp children. Photo by Matthew Murphy (2)

What: Opening night of “The Sound of Music”

Where: Broward Center, 201 S.W. Fifth Ave., Fort Lauderdale

When: 8 p.m.

Cost: $30-$110

Cost: 954/462-0222, browardcenter.org

Yes, the hills are alive with the sound of music, but were they ever not? Forget the “Night of the Living Dead” musical adaptation: Rodgers & Hammerstein’s classic is the ultimate zombie musical, constantly roaming city and country alike, insatiable and unkillable. It’s also very good, which its detractors—who might be as legion as its admirers—are loath to admit. “My Favorite Things,” “Do Re Me,” Edelweiss,” the title song and other iconic numbers have become permanently stitched in the fabric of American cultural history, while the story’s anti-Nazi sentiment has, unfortunately, taken on new resonance in the 21st century. This Broadway tour, featuring new staging, runs through Oct. 22.



What: “The Vagina Monologues”

Where: Aventura Arts & Cultural Center, 3385 N.E. 188th St., Aventura

When: 8 p.m.

Cost: $35-$45

Cost: 954/462-0222, browardcenter.org

Playwright Eve Ensler’s provocatively titled solo show opened in 1996 as an instant women’s-empowerment classic, prompting New York Times theatre critic Charles Isherwood to dub it “probably the most important piece of political theater of the last decade.” Since then, tours and regional productions of this influential play have rarely ceased. The diverse monologues, drawn from Ensler’s interviews of 200 women, are told from the perspectives of rape victims and feminist activists, sex workers and new mothers, addressing topics such as body image, gender double standards, menstruation, sex and female genital mutilation. Alternately harrowing, comic and insightful, most “Vagina Monologues” productions feature multiple performers, in this case acclaimed comedians Vicky Kuperman and Vanessa Hollingshead.



What: Opening night of “Mad Cat Live!: Black Sabbath Vol. 4”

Where: The Gleason Room at Fillmore, 1700 Washington Ave., Miami Beach

When: 8 p.m. Thursday to Saturday, 5 p.m. Sunday

Cost: $15 general admission, $25 VIP table

Contact: 305/751-9550, madcattheatre.org

While casual Black Sabbath fans may be most familiar with the metal pioneers’ first two albums, Mad Cat Theatre Company tends to focus its theatrical concerts on more obscure, transitional and under-appreciated releases. To that end, and just in time for Halloween, the talented actor-musicians of Mad Cat will feature a performance of Black Sabbath’s fourth album, titled, imaginatively “Vol. 4.” It was originally intended to be called “Snowblind,” an all-too-overt reference to the mountains of coke the band members snorted during the debauched recording sessions. The influence of the white powder led the band to synthesize the heavy sound it became recognized for while opening up new sonic pathways, as evidenced on the neo-classical instruments and the spartan piano ballad “Changes.” Mad Cat will explore every nuance of this momentous album, in a limited production running through Sunday only.



What: Opening day of “The Unknown Girl”

Where: Lake Worth Playhouse, 713 Lake Ave., Lake Worth

When: 2 and 6:15 p.m.

Cost: $6-$9

Contact: 561/296-9382, lakeworthplayhouse.org

How many people can be responsible for a person’s accidental death? That’s the moral question at stake in this latest mystery from Belgian directors Jean-Pierre and Luc Dardenne, the master filmmakers behind “Two Days, One Night” and “Rosetta.” A kind, hardworking doctor, toiling in her office annex more than an hour after the clinic has closed, decides not to answer a buzz at the door. The next morning, the police inform her that the person seeking medical help was found dead shortly thereafter. Consumed by guilt, the physician plays amateur gumshoe and discovers potential suspects in every corner of Belgian society, including one of her patients. Shot in the Dardenne Brothers’ signature rigorous camera style, “The Unknown Girl” explores class and race disparities without didacticism. It runs through Oct. 19.


What: Opening night of “The Good Girl”

Where: Andrews Living Arts, 23 N.W. Fifth St., Fort Lauderdale

When: 8 p.m.

Cost: $30

Contact: 866/811-4111, primalforces.com

Artistic director Keith Garsson, lately of the Theatre at Arts Garage, will bring his signature brand of hard-hitting, sexually provocative theatre back to its Fort Lauderdale roots. Playwright Emilie Collyer’s dystopian comedy “The Good Girl” is set in a future in which sex bots have largely supplanted human-on-human fornication. And when an artificially intelligent robot begins to develop ever more naturalistic human behaviors, a pair of its opportunistic helpers—its government-issued “madam” and a maintenance worker—develop a scheme that spirals the narrative into dark directions. Garsson will direct Amber Lynn Benson and Jovon Jacobs in this Southeastern premiere, which runs through Oct. 29.



What: III Points Festival

Where: Mana Wynwood Convention Center, 318 N.W. 23rd St., Miami

When: Various show times

Cost: $125-$295

Contact: iiipoints.com

This fifth-annual Miami confab is more than a music festival, bringing together national and local “thinkers, dreamers and doers” for a diverse program of lectures, tech talks, gallery showcases and more. But the headlining bands remain the top draw of III Points, which welcomes Gorillaz, the electro-pop side project of Blur’s Damon Albarn; English indie-pop sensations The xx (pictured above); Seattle-based chamber-pop auteur Perfume Genius; numerous EDM and hip-hop headliners; and even an “audio installation” by the legendary Brian Eno. This is where the cool kids will be all weekend.



What: Boca Raton Pumpkin Patch Festival

Where: Mizner Park Amphitheater, 590 Plaza Real, Boca Raton

When: 10 a.m.

Cost: $15

Contact: bocapumpkinpatch.com

Nothing says fall like the influx of pumpkins in markets, on lawns and decorating window displays. The seasonal squash plant also will be center stage at many attractions this weekend, as the Mizner Park Amphitheater transforms into a pumpkin patch. In addition to the opportunity to decorate pumpkins into edible works of art, kids can enjoy a cornstalk maze and carnival rides, and take photos in front of backdrops of autumn leaves. You can also design—and take home—a scarecrow, and choose from among 2,500 pumpkins. Sweet and savory pumpkin entrees can be purchased at a specialty food court, and guests 21 and up can imbibe at the Pumpkin Beer Bar.



What: Art Garfunkel in Conversation

Where: Miami Dade College, Wolfson Campus Auditorium, 300 N.E. Second Ave., Miami

When: 4 p.m.

Cost: $27.95 book purchase from Books & Books serves as entry for two

Contact: 305/442-4408, booksandbooks.com

Fans of folk music, nonfiction books, art cinema and especially the six-time Grammy-winning output of Simon and Garfunkel would be remiss in passing up the opportunity to meet the legendary duo’s more sensitive side up close and personal. Garfunkel, the curly-haired Rock and Roll Hall of Famer, will join Shelly Berg, dean of U.M.’s Frost School of Music, for a conversation about Garfunkel’s new memoir, What is it All But Luminous: Notes from an Underground Man. The book explores Garfunkel’s life before, during and after his S&G heyday, from paying a studio seven dollars to record a demo of their first song to acting in movies by Nicholas Roeg and Mike Nichols. Stick around, and you may even get him to sign the book.

As the A&E editor of bocamag.com, I offer reviews, previews, interviews, news reports and musings on all things arty and entertainment-y in Palm Beach, Broward and Miami-Dade counties.
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Concert Review: Band of Horses at Fillmore Miami Beach

On Sunday night, indie rock veterans Band of Horses stopped by the Fillmore Miami Beach for the last show on their 115-date “Why Are You OK” tour, and provided a pleasant but mostly unremarkable show.

After an opening set by fellow South Carolina group The Artisanals, Band of Horses took the stage at 9:10 to The Clash’s “Train in Vain,” before quickly slowing things down with a soft opening song that featured frontman Ben Bridwell on piano.

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Band of Horses has always been a revolving door of musicians centered on songwriter Bridwell, and this was no different on Sunday night. The five-piece group featured two new contributors on bass and guitar following the departure of longtime members Tyler Ramsey and Bill Reynolds earlier this year.

With curtains blocking off most of the seating at the back of the venue’s bottom level, it was clear that the promoters weren’t expecting anywhere near a sold-out show. What they got instead was a noticeably smaller-than-usual crowd for the Fillmore, but one that was packed up towards the stage to create an unusual sense of intimacy for the venue.

Backed by a minimal light show and the band’s customary cursive script font on a large Irish flag behind them, Band of Horses bypassed flashy stage tricks in favor of a simple setup that placed the focus squarely on the music. As with its studio albums, the band used strong dynamic contrast to keep the crowd engaged and the show moving along. Each song had its own peaks and valleys, and with each upswing in volume and tempo the crowd became visibly more active and engaged.

Photo by James Biagiotti

Photo by James Biagiotti

Though the band was still promoting its most recent record, last year’s Why Are You OK, songs off of the group’s first two records, 2006’s Everything All the Time and 2007’s Cease to Begin, dominated the setlist. These were the tracks that received the most avid response from the crowd, many of whom seemed to be devoted fans.

A few songs into the show, Bridwell took time to speak to the audience, putting on a white trucker hat and telling the South Florida crowd “We’re feeling for y’all with all that storm stuff, and we hope you’re doing alright down here. Nothing but the best for you.”

The most interesting parts of the set came when the band occasionally lapsed into rocker excess, as with standout cut “Cigarettes, Wedding Bands,” which was a pleasant upswing in the middle of the show.

After closing the main set with “Is There a Ghost,” the encore brought a one-two punch of “The Funeral” and “The General Specific,” which produced a jovial ending for the 90-minute performance and seemed to validate the decision to stay late for many fans.

While Band of Horses tried admirably to maintain the attention of the crowd throughout the evening, the considerably thinner headcount by the start of the encore spoke volumes for the mindset of the audience. It was getting late on a Sunday night, and while it may have been fun, for many attendees it wasn’t worth getting stuck in traffic on the way out.

James Biagiotti is a native of Boca Raton and music obsessive who is currently studying journalism and working as a guitar salesman. When he’s not attending or reviewing concerts in South Florida, he’s probably either playing and recording music or watching the Miami Dolphins.

Jack Johnson Plays Upbeat, Memorable Show in West Palm Beach


True to his music, Jack Johnson’s performance at Coral Sky Amphitheatre was exactly how I pictured it: playful and laid-back. Although the outdoor venue was packed with Johnson fans and enthusiasts, the atmosphere was akin to a small, intimate house party gathering. Everyone showed up in ponchos and rain boots due to some pretty soggy weather, but by the time Jack and his band came on stage, it was like his Hawaiian blood transformed the space into a bonfire on the beach.

Twinkling mason jars filled with colorful pieces of plastic collected from the ocean (a haunting yet beautiful illustration of modern pollution) swayed breezily in strands overhead. People swayed from side to side, nodding in tune to the beats and singing along softly.

The scenery made for a chill vibe throughout the show. Photo by Shayna Tanen.

The scenery made for a chill vibe throughout the show. Photo by Shayna Tanen.

Jack opened the show with “Sitting, Wishing, Waiting,” skipping the usual bold spotlight for softer stage lights. He quickly segued into “I Won’t Back Down,” in tribute to the late Tom Petty, followed by hits “Taylor,” “Staple It Together,” and “You and Your Heart.” The show was a combination of classic throwbacks intermixed with new hits from his July 2017 album, “All the Light About It Too.” Jack treats concertgoers like close friends, laughing and sharing stories about his college days and his kids. One especially sweet story went like this: His son was misbehaving so Jack said he’d grow a monkey tail with an eyeball at the end if he didn’t stop. His kid was delighted by the prospect, and pretended he had a monkey tail, looking at his dad and saying “You look good!” The story segued into, what else, “If I Had Eyes.” Jack even jokingly pretending to push fellow band member and instrumentalist Zach Gill off the stage.

Gill, for his part, is a great sport, and there’s a genuine friendship between the two musicians that runs way deeper than music. And Gill is an amazingly gifted pianist. He played some killer solos on “Flake,” “Big Sur,” and “Wasting Time,” to name a few. But he’s also excellent on the accordion and the melodica, a blow-organ harmonica with a keyboard attachment, which he played vibrantly. He was best when he was standing on his piano, blurting out notes on the melodica. It looked wildly fun.

It's always fun when musicians stand on their instruments. Photo by Shayna Tanen.

It’s always fun when musicians stand on their instruments. Photo by Shayna Tanen.

Jack saved “Banana Pancakes,” till the show’s nearing end, and the crowd responded in thankful applause. For the encore, Jack came back solo, opening with “A Pirate Looks at Forty,” a nod to our homegrown singer Jimmy Buffet, then rounding it out with four more songs—some quite uh, emotion-evoking—including a silly one about getting stoned with Willie Nelson. All in all, it was the perfect ending to a long day at the office, and the perfect starter to the almost weekend. Aloha.

Set List:

Sitting, Wishing, Waiting

I Won’t Back Down (Tom Petty cover)

Taylor Staple It Together

You and Your Heart



The Horizon Has Been Defeated


Inaudible Melodies

You Can’t Control It

My Mind Is for Sale


Big Sur

You Don’t Know How It Feels (Tom Petty cover)

If I Had Eyes

Good People

I Got You

Belle/Bananas Pancakes

Shot Reverse Shot

Wasting Time

Bubble Toes/The Joker



A Pirate Looks at Forty

Do You Remember

Willie Got Me Stoned


Better Together

Allison Lewis is the associate editor at Boca Raton Magazine and a native St. Louisan. She earned a Bachelor of Journalism and a Master of Arts in Journalism from the University of Missouri in Columbia, Mo. In her spare time, Allison enjoys cooking, playing Ultimate frisbee, reading, traveling and watching sports.
Kelly Goodman Photography

Your Week Ahead: Oct. 3 to 9

Fright Nights celebrates its “sweet” 16, the Wick Costume Museum shows off its bling, and Gloria Estefan’s musical comes home. Plus, Hillary Clinton, Seu Jorge, “Blade Runner 2049” and more in your week ahead.



What: Hillary Clinton

Where: Broward Center, 201 S.W. Fifth Ave., Fort Lauderdale

When: 8 p.m.

Cost: $50-$375

Contact: 954/462-0222, browardcenter.org

“What happened?” is the question millions of flummoxed Americans asked themselves, slack-jawed, on Nov. 8, 2016. What Happened, in turn, is Hillary Clinton’s book-length response to that query. Clinton famously fumbled what the polls and popular sentiment considered the easiest presidential election win in recent history for reasons that have been rehashed, dissected and autopsied for nine months—by countless people not named Hillary Clinton. Now is South Floridians’ up-close and personal opportunity to listen to the candidate’s side of the story at this exclusive stop on her What Happened book tour.



What: Opening night of Free Friday Concerts

Where: The Pavilion at Old School Square, 51 N. Swinton Ave., Delray Beach

When: 7:30 p.m.

Cost: Free

Contact: 561/243-7922, oldschoolsquare.org

Friday nights, fresh air and free music—what could be better? Once again, Old School Square is showing the community some love with its popular series of outdoor concerts at the Pavilion. Whether you come with the family or that one special friend, you’ll want to bring lawn chairs or at least a blanket to stretch out on. You’ll have to leave the pets at home for this one, though. No coolers or outside food or beverages are permitted either, but don’t worry: You’ll be able to buy something to nibble on and something nice and cold to drink. The new season of shows begins Friday with the note-perfect Billy Joel tribute Turnstiles, kicking off a high-energy lineup of bands that continues throughout the season.



What: Opening night of “Blade Runner 2049”

Where: Cinemark Palace, 3200 Airport Road, Boca Raton

When: 7 and 10 p.m.

Cost: $9-$16

Contact: fandango.com

Few modern directors convey creeping dread quite like Denis Villeneuve, the auteur of “Sicario” and “Arrival,” whose latest project expands the mythology of “Blade Runner,” Ridley Scott’s 1982 sci-fi benchmark. Set 30 years after the events of the original, this audacious sequel follows a next-generation replicant cop (Ryan Gosling) designed by a globalist industrialist (Jared Leto) whose latest case leads him down a soul-searching rabbit hole into his own creation. Harrison Ford reprises his role in Scott’s film, as a retired blade runner whose own history is crucial to solving the movie’s mysteries. While Villeneuve pays homage to the 1982 feature’s grim urban cityscapes, the visual and aural language of “2049” is certifiably his own: The alien topographies and expressionistic interiors; the exotic, elephantine musical score; and the melancholy drift of its stranger-in-a-strange-land hero are largely of a piece with his impressive oeuvre. The story is plagued by occasional inertia, and it doesn’t quite grip you enough, but its meditations on bioengineering and transhumanism, and its cogent observations on corporate hegemony, surveillance and an underground slave state resonate even greater now than in the franchise’s inception. It will open Friday at most area theaters.

Kelly Goodman Photography

Kelly Goodman Photography

What: Opening night of Fright Nights

Where: South Florida Fairgrounds, 9067 Southern Blvd., West Palm Beach

When: 6 p.m. to midnight

Cost: $30

Contact: 561/790-5225, myfrightnights.com

Fright Nights, one of Palm Beach’s County’s preeminent haunted attractions, celebrates its not-so-sweet 16th birthday this season with four brand-new walk-throughs filled with special effects and live scare-actors. Creative director Craig McInnis and his crack(ed?) team of designers welcome horror fans to these concepts: “Occultus,” about witchcraft hysteria run amok; “Metamorphosis,” a mad-doctor tribute to Mary Shelley’s Frankenstein; “Shutter,” about a fashion photographer-cum-murderous psychopath; and “The Cuckoo’s Nest,” which riffs on that old chestnut about the inmates running the asylum. Enjoy these, along with carnival rides, food, drinks and other entertainment, through Oct. 28. Through Oct. 5, you can buy discounted tickets online for $25.


What: Opening night of “On Your Feet!”

Where: Arsht Center, 1300 Biscayne Blvd., Miami

When: 8 p.m.

Cost: $29-$75

Contact: 305/949-6722, arshtcenter.org

Gloria and Emilio Estefan are the closest people Miami has to royalty. Cuban-born and Miami-bred, they personify the American dream: fleeing Communist oppression, forging a legacy in the city’s burgeoning Latin pop scene, and winning 26 Grammys between them. So it’s wholly appropriate that the city that hatched their fame will be the first national tour stop of “On Your Feet!,” the zesty and heartfelt musical based on their vertiginous life. The tunes the Estefans immortalized, including “Conga,” “The Rhythm is Gonna Get You” and “Get on Your Feet,” complement a narrative that addresses the their uphill battle in an Anglo-centric music industry as well as the car accident that nearly ended Gloria’s career. With the creators of “Kinky Boots,” “Jersey Boys” and “Birdman” behind the directing, choreography and writing, this power couple’s story is in good hands … er, feet. The show runs through Oct. 15.


In the Pink Feather Cape 2 (1) (1)

What: Opening day of “Bling: The Brilliant History of Glitz”

Where: The Wick Costume Museum, 7901 N. Federal Highway, Boca Raton

When: Reservations begin at 11 a.m.

Cost: $48 (includes three-course lunch)

Contact: 561/995-2333, thewick.org

The Wick’s fifth and latest costume exhibition is more than just a showcase of theatrical wardrobes, although there are some great ones on display from “La Cage,” “42nd Street” and “The Producers.” But this celebration of all things glitzy also integrates film accessories from lavish productions such as “Cleopatra” and “Annie Get Your Gun.” Its breathtaking centerpiece will feature samples of Liberace’s most flamboyant costumes, including his iconic King Neptune cape, on loan from the Liberace Foundation in Las Vegas. The exhibition runs through May 20, 2018.


What: Seu Jorge

Where: Broward Center, 201 S.W. Fifth Ave., Fort Lauderdale

When: 8 p.m.

Cost: $45-$215

Contact: 954/462-0222, browardcenter.org

The 2005 feature “The Life Aquatic” is one of director Wes Anderson’s most eccentric films, worshipped by his cult fanbase while eliciting a shrug from much of the mainstream audience. But even viewers wary of Anderson’s stylized vision probably remember the movie’s musical selections—the ethereally beautiful acoustic covers of David Bowie compositions, sung in Portuguese, by Brazilian singer-songwriter Seu Jorge. Transforming Bowie’s glam spunk into intricate pop-samba numbers, Jorge both deepened and redefined another’s master work, prompting the Thin White Duke himself to comment, “Had Seu Jorge not recorded my songs in Portuguese I would never have heard this new level of beauty which he has imbued them with.” Jorge will pay tribute to Bowie on this tour, in which he’ll perform the “Life Aquatic” soundtrack supplemented by movie stills and a stage design that re-creates its stylish submarine setting.

THE HUMANS - Image 2 - Sans Credits

What: Opening night of “The Humans”

Where: GableStage, 1200 Anastasia Ave., Coral Gables

When: 8 p.m.

Cost: $57-$60

Contact: 305/445-1119, gablestage.org

Stephen Karam’s drama “The Humans” arrives for its South Florida regional premiere with a most impressive track record: It transferred from off-Broadway to Broadway in less than a month’s time last winter before becoming a finalist for the Pulitzer Prize for Drama and winning the Tony Award for Best Play. “The Humans” is centered on a familiar theatrical conceit—a dinner party for an extended family—but it avoids the histrionics and broad comedic strokes often associated with dysfunctional-family plays. Praised for its naturalistic dialogue and documentary-style look at a middle-class family trying to stay afloat in turbulent and unpredictable times, “The Humans” features characters that probably look and sound like you. If done well, the production should strike notes that are both, as the New York Times review put it, “blisteringly funny [and] bruisingly sad.” GableStage’s premiere runs through Nov. 5.

As the A&E editor of bocamag.com, I offer reviews, previews, interviews, news reports and musings on all things arty and entertainment-y in Palm Beach, Broward and Miami-Dade counties.
Trombone Shorty; photo by James Biagiotti

Concert Review: Trombone Shorty Brings the Big Easy to Fort Lauderdale

On Friday and Saturday night, Trombone Shorty & Orleans Avenue, along with opening act Dumpstaphunk, brought New Orleans with them to South Florida as they took over Revolution Live in Ft. Lauderdale for a two-night stand of funk, rock and jazz music.

Troy Andrews, better known as Trombone Shorty, has been performing in jazz ensembles since he was 4 years old. Over the past 25 years he’s built a reputation as one of the most talented brass musicians in the world, and has performed with a staggering lineup of artists, from Green Day and U2 to the Foo Fighters. Since 2009 he’s led his own band, Trombone Shorty & Orleans Avenue, and showcased his unique hybrid of rock and jazz all over the world.

Trombone Shorty; photo by James Biagiotti

Trombone Shorty; photo by James Biagiotti

Considering the reputation Andrews has, it’s no surprise that he’d bring along a group of bona fide New Orleans legends with him on tour. When opening act Dumpstaphunk took the stage at 9:45 each night, the group brought with them a unique blend of funk and jam music that was a thrill to watch. The musicianship of each individual player shined, with all seven members of the group receiving a solo at one point or another. Standouts included Tony Hall, who seamlessly transitioned from guitar to five-string bass both nights while also sharing vocal duties; and members of the famous Neville family, Ivan and Ian, on keys and guitar, respectively.

When Trombone Shorty & Orleans Avenue took the stage each night at 11:15, the group had a tough act to follow but still lived up to the challenge.

Andrews may be promoting his new album and Blue Note debut­­­ Parking Lot Symphony, but these were unique shows in that nobody in the crowd was really concerned with which songs made the set list. Compositions blended together as the group joyously performed, and the crowd was just along for the ride. Each member of Orleans Avenue received a showcase over the course of both nights, and Andrews flaunted his prowess as both a bandleader and frontman as he kept the crowd fully engaged with sing-alongs and choreographed dances with his band.

Troy Andrews is a musician’s musician, switching between instruments (trombone, trumpet, drums, tambourine and lead vocals) throughout the set both nights, and showcasing techniques like circular breathing (playing a wind instrument continuously for an extended period of time without stopping to take a breath) that left the crowd awed whether they fully understood the difficulty of his feats or not.

The only notable difference in the set lists between the two shows was the inclusion of some memorable covers from both bands on night two. Dumpstaphunk got the led out with an extended cover of Led Zeppelin’s “Ramble On,” while Trombone Shorty found time to include a spirited cover of Green Day’s anthemic “Brain Stew” in his set.

Throughout both nights, which were rife with improvisation, one of the most fun things to see was the excitement of the band members as they watched each other solo. Andrews kept a fixed concentration on whichever member of his band was being featured, and couldn’t hide his pleasure when watching them each enjoy their individual moment in the spotlight.

Neither group strayed from their New Orleans culture throughout the two-night stand, and in both sets Trombone Shorty & Orleans Avenue brought their own version of Mardi Gras to South Florida by playing “When the Saints Go Marching In” and tossing T-shirts and branded beads into the crowd.



When Andrews closed the second show with “Hurricane Season,” he didn’t bother to address the relevance of the topic. He let the music speak for itself, not talking to the crowd other than to introduce the band and make sure the fans were still “partying out there.”

While the crowd was much more packed on Saturday than Friday, both nights brought a friendly and inclusive group of people who enjoyed the music together. Many concertgoers were either from New Orleans or shared a deep personal connection with the city. I spoke to a fan named Griffin who was the first of many to speak as if on a first-name basis with Trombone Shorty. He referred to the artist as “Troy” in conversation and filled me in on the history of the jazz legends in the Andrews and Neville families of New Orleans.

Another fan, who introduced himself as “Horacio Horn Blower,” brought a trumpet to the show in a backpack and told me that he hoped to have the opportunity to jam with the band, which predictably never came to fruition. These encounters showed me that I was dealing with something unique from most of the concerts that I attend in South Florida. These bands didn’t just bring their songs with them—they brought their heritage as well.

James Biagiotti is a native of Boca Raton and music obsessive who is currently studying journalism and working as a guitar salesman. When he’s not attending or reviewing concerts in South Florida, he’s probably either playing and recording music or watching the Miami Dolphins.

Concert Review: Foster the People at Fillmore Miami Beach


By James Biagiotti

Six years ago, when Foster the People’s debut album Torches was released, the group seemed to be on a rapid rise to superstardom. The single “Pumped Up Kicks” became a massive crossover hit in 2011 and catapulted Mark Foster’s newly formed band to prominence and a record deal. By the time the Los Angeles based indie-pop band reached the stage of the Fillmore Miami Beach on Wednesday night, the group was three albums deep into its career and seemed to be running in place.

The group has followed a unique track since its initial success with “Pumped Up Kicks,” delving into psychedelia for its sophomore album Supermodel before experimenting with a more electronic sound for this year’s Sacred Hearts Club, its weakest offering to date.

Though Foster’s band may not be headlining festivals and arenas like many would have expected at this point in his career, it has certainly developed a strong and fervent fan base. When the group brought its Sacred Hearts Club tour to South Florida on Wednesday night, it performed to a packed house filled with attendees of all ages.

The night’s opener, L.A. based garage rock group Cherry Glazerr, was a pleasant surprise, bucking the crowd’s expectations of indie-pop in favor of a noisey sound that was closer to grunge than to anything by Foster the People. The group had the volume cranked up as loud as I’ve ever heard it at the Fillmore for its 30-minute set, which included standout tracks “Had Ten Dollaz” and “Told You I’d Be with the Guys.” Frontwoman Clementine Creevey was a blast to watch on stage, and seemed to relish the opportunity to perform to such a large crowd.

Cherry Glazerr

Cherry Glazerr

With fans’ ears still ringing from Cherry Glazerr, Foster the People took the stage at 9:15, opening with “Pay the Man,” the first track off of Sacred Hearts Club. The six-piece band at first featured two drummers, two keyboardists, a guitarist, and frontman Mark Foster on vocals. Throughout the night, the rhythm section backing Foster bounced from one instrument to another during transitions between songs.

Make no mistake, Foster the People is Mark Foster’s group, as evidenced by his position as the only musician at the front of the stage, with the rest of the group performing behind him. The stage setup featured a massive neon sign that read “Sacred Hearts Club” on the wall behind the band, which changed colors and flashed along with an elaborate light show throughout the evening.

The Fillmore, which is usually known for its superior sound quality, struggled with the transition from the cacophonous opening set to the lush pop sensibilities of the headlining act, resulting in muddled sound throughout the night. Vocals could often barely be discerned, and lead guitar and piano lines got lost in the mix, failing to speak out over the rest of the instruments.

The large crowd reacted with fervor towards tracks from the group’s first record, Torches, and seemed to only tolerate the tracks from Sacred Hearts Club, many of which fell flat when juxtaposed next to the band’s earlier hits.

The group found time for a few notable inclusions in the two-hour set, like covers of New Order’s “Blue Monday” and the Ramones’ “Blitzkrieg Bop,” as well as the live debut of “I Love My Friends” from Sacred Hearts Club.

Standout tracks from the headlining set included “A Beginner’s Guide to Destroying the Moon,” which proved to be the heaviest song by the main act, and the obligatory inclusion of “Pumped Up Kicks,” which was preceded by a brief speech from Foster addressing the current political climate.

“Don’t worry about the small things,” Foster told the crowd. “Love each other. Life is hard enough already, and love will always be greater than politics.”

The band closed the main set with “Loyal Like Sid & Nancy,” which felt like an embarrassing misfire, before an encore that featured fan-favorite tracks “Houdini” and “Call It What You Want” to end the night on a positive note.

Though Mark Foster exuded positive energy throughout the set and successfully kept the crowd animated and involved, he couldn’t overcome the poor audio quality and disappointing material from Sacred Hearts Club to put together a truly great show. After a fun but not quite satisfying two-hour set, it was clear why Foster the People’s career trajectory has stalled out.


1) Pay the Man

2) Helena Beat

3) Life on the Nickel

4) Doing It for the Money

5) Pseudologia Fantastica

6) Harden the Paint

7) Warrant (with New Order’s “Blue Monday” postlude)

8) Are You What You Want to Be?

9) Don’t Stop (Color on the Walls)

10) Lotus Eater

11) Blitzkrieg Bop (Ramones cover)

12) Goats in Trees

13) Coming of Age

14) I Love My Friends (live debut)

15) Sit Next To Me

16) Miss You

17) A Beginner’s Guide to Destroying the Moon

18) Pumped Up Kicks

19) Loyal Like Sid & Nancy


20) Houdini

21) Broken Jaw

22) Call It What You Want


Concert Review: Young the Giant in Miami

Written by James Biagiotti

Almost exactly six years after its first show in Miami, Young the Giant returned to Miami’s Bayfront Park Amphitheater Saturday Night with something to prove.

“The first time we played Miami was 2011, on this stage,” frontman Sameer Gadhia told the crowd. “We were opening for Incubus. We loved this city. It was a big goal of ours to come back here and headline our own show.”


Young the Giant returned to Miami to play their own show six years after headlining there for Incubus.

I was at that show six years ago, and wouldn’t have predicted that this five-piece group from Irvine, California would make it back to achieve that goal. Young the Giant has come a long way since then, however, and this seems to be a band that operates best with a chip on its shoulder.

Far from critical darlings, the group has nonetheless built a devoted following since the release of its debut record in 2010, through constant touring and a pleasantly inoffensive, if not revolutionary, trio of albums with a penchant for earworm melodies.

Solidifying Bayfront Park’s growing reputation as a destination for team-up summer concerts, Young the Giant brought along fellow alternative radio mainstays Joywave and Cold War Kids for the lone South Florida stop on the Home of the Strange tour.

After a lackluster opening set by Rochester, New York’s Joywave, who performed to a crowd that could generously be estimated at a quarter of the venue’s capacity, fans continued to trickle into Bayfront Park. When Cold War Kids took the stage around sundown, the crowd was noticeably larger but still nowhere near packed. The five-piece indie rock group from Long Beach, California has built up a small but dedicated following since forming in 2004, but on Saturday night couldn’t seem to overcome muddled sound and an overall lack of enthusiasm for its set. By the time Cold War Kids left the stage, the venue had filled up nicely despite the lack of a sellout crowd. (The fact that another alt-rock radio mainstay, Arcade Fire, was playing just eight miles away, in Coral Gables, might have contributed to the turnout.)

Before Young the Giant took the stage just after 9, the introduction over the PA left nobody questioning whether the group would shy away from any discussion of patriotism that its album ignites. The band took the stage after a faux-radio mashup of U.S.A.-themed tracks, from Green Day’s “American Idiot” and Miley Cyrus’ “Party in the USA” to Kendrick Lamar’s inflammatory “XXX.”

The Home of the Strange tour lived up to its timely patriotic billing from the jump, the headline set beginning with album-opener “Amerika,” a track inspired by the posthumously published Franz Kafka novel of the same name.

Gadhia, clad in a yellow jumpsuit, seemed intent on showing off his dexterity as a frontman, and didn’t stop moving all night. When he wasn’t a dancing silhouette in front of the band’s large triangular screen, he was playing guitar or one of the dozen or so instruments enveloping his mic stand.

Though Gadhia stole the show and earned the rapt attention of most fans in attendance, the rest of the group performed admirably, with nary a mistake to be heard throughout the set.

One of the many musically impressive moments of the night came midway through the main set, when the band gathered together on the right side of the stage and invoked their popular “In The Open” YouTube series for acoustic versions of “Strings” and “Firelight.”

Along with many fan-favorite older tracks, the band’s set showcased many songs from its recent record, which incorporates a dash of electronic dance music into its usual indie/alternative-rock sound. “Titus Was Born” began as a slow burn that blossomed into a dynamic pop song, and encore opener “Jungle Youth” brought a bombastic beat that got the crowd even more fired up.

The show never seemed to lull, and ended on a strong note, with the crowd singing along to jubilant renditions of the band’s most recent single “Silvertongue,” as well as its first-ever single and biggest hit, “My Body.”

Young the Giant has come a long way since the first time I saw the band six years ago, and as I spoke to concertgoers on the way to the exit, longtime fans and first-time listeners alike seemed to agree: For this band, the sky is the limit.



Something to Believe In

I Got


Titus Was Born

Mr. Know-It-All

It’s About Time

Cough Syrup

Strings (“In the Open” Version)

Firelight (“In the Open” Version)

Nothing’s Over

Mind Over Matter



Home of the Strange


Jungle Youth


My Body

Stephen Sorokoff-178

The Original Wonder Woman Sings: A Q&A With Lynda Carter



Gal Gadot isn’t the only actress to ride the Wonder Woman rocket to stardom.

In 1975, Lynda Carter, the Miss World USA from three years prior, had nearly exhausted her savings to pursue an acting career that had produced only three bit parts. She was close to returning to her native Arizona when her manager informed her that she’d been cast to play the iconic Diana Prince, the star-spangled Amazonian princess and all-American superhero, for ABC.

As Wonder Woman, Carter fought Nazis and criminal syndicates and extra-terrestrials for three seasons and four years, ensuring a cult audience. Carter’s popularity has grown in the past year, with a new generation of fans discovering the character through this year’s $816 million movie adaptation.

The role paved the way for a robust television and stage career, but it’s her twin calling as a cabaret singer that has been occupying her creativity of late. On her two albums, At Last and Crazy Little Things, Carter croons standards, blues, folk and rock hits, with a third album on the way this fall.

Carter, who will receive a star on the Hollywood Walk of Fame next year, will offer fans a preview of her latest material this Saturday when she brings her concert tour, “The Other Side of Trouble, to Seminole Casino Coconut Creek, complete with a 10-piece complement of Nashville studio musicians.

Stephen Sorokoff-178

Tell me about your new show “The Other Side of Trouble,” starting with what the name means to you.

It’s the name of a song I wrote. My writing partner and I were sitting around one day, and we were talking about relationships. I said, “that girl’s trouble, but at least he’s on the other side.” We said, “hey, the other side of trouble!” So it’s an amusing song—“I’m on the other side of trouble when I’m on the other side of you.” And we thought it would be a good name for the show.

We mix some of our own music with some old rock ‘n’ roll, new rock ‘n’ roll and some country and some old blues. We have 10 pieces up on the stage, so it’s a lot of fun.

Is it a straight-up concert, or do you talk to the audience?

I can’t help but talk to the audience. I tell a few stories that are somewhat self-deprecating. I talk a little bit about Wonder Woman, about life, about the music.

What do you get out of singing in front of an audience that you don’t necessarily get from your acting work?

You’re right there with people. For me, it is the same as stage acting. You’re very connected with a piece of work all the way through a show, and you’re depending on the audience’s reaction, and you’re right there with the audience. It’s the same feeling and the same thrill you get when you’re performing in the theatre.

Do you conceive of your concerts like theatre pieces—like you’re moving the audience through a narrative?

Absolutely. The singers I like a lot are storytellers, and you’re taking the audience through an experience. And when I do a cover, my covers are usually telling some kind of a story, and they’re really rethought to quite an extent. If I’m doing a Motown, I’m not a Motown singer, so I retool it in a way that it ends up being a story.

How do you go about selecting which classics you want to record?

That happens over a period of a year or more. It’s usually things I’ve listened to that I want to attempt to do at the beginning of the year. It’s quite a process, going through hundreds of kinds of music, and some of it is stuff that I’ve written, or would write with Grammy-winning writers.

Moving on to your acting career, there’s a lot of pressure associated with playing an iconic character, in terms of balancing the history and expectations with your interpretation. How did you conceive that balance when becoming Wonder Woman?

There was a preconceived notion that women are not going to like you because you’re playing this beautiful goddess. And I thought that was silly, so I wanted to make sure that the women who watched me didn’t feel that way. I thought that she needed to have a goodness and a kindness and that she was a whole woman, as we all are. We’re not just one thing. We’re complicated. And that’s how I crafted the character—that she was sweet and kind, that she would not stand up to any bullies, that she’s more about intellect and integrity and character than she was about anything else.


Has the recent rediscovery of Wonder Woman by a new generation brought renewed interest in the original series?

Of course it has. I have become good friends with Gal and Patty Jenkins, whom I have tremendous respect for. They have their hands full making the next one, and I think it’s really great for the character. I think they did an amazing job.

Do you believe Gal took anything from your interpretation of the character for her own conception of the role?

We never talked about that. That would not be something actresses would necessarily talk about, because everyone has to do it their way. I think that Patty Jenkins and I had the same original feeling of who this woman is, of what a woman is, and empowering her with Wonder Woman’s powers.

What does Wonder Woman have that the testosterone-driven 98 percent of other superheroes lack?

I think it’s just this full and rich personality that she is a whole woman, that she’s not a one-dimensional character. She fights when she needs to and protects when she needs to, and she does it for the right reasons. It’s her humanity that is so outstanding. That’s really what it’s about—the strength of a woman that can’t be victimized. She’s not out there trying to be macho at all. She’s a total feminine woman, but you better not try to take advantage of her, or you’re going to regret it.

Carter performs at 8 p.m. Saturday at Seminole Casino Coconut Creek, 5555 N.W. 40th St., Coconut Creek. Tickets cost $40-$60. Call 954/935-2636 or visit ticketmaster.com.

As the A&E editor of bocamag.com, I offer reviews, previews, interviews, news reports and musings on all things arty and entertainment-y in Palm Beach, Broward and Miami-Dade counties.